Cuarteto Zupay

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Cuarteto Zupay or simply Los Zupay, was an Argentinian Popular Music group formed in Buenos Aires in 1966 that remained active until 1991. The founding members were the brothers Pedro Pablo García Caffi (baritone) and Juan José García Caffi (first tenor), Eduardo Vittar Smith (bass) and Aníbal López Monteiro (second tenor). Over the years, the group's line-up changed with the exception of Pedro Pablo García Caffi, holder of the group's name, who remained a member until its dissolution. Other members were Eduardo Cogorno (tenor), Rubén Verna (tenor), Horacio Aragona (tenor), Gabriel Bobrow (tenor), Javier Zentner (bass) and Marcelo Díaz (tenor). From 1981 until the dissolution of the quartet in 1991, the line-up was Pedro Pablo García Caffi, Eduardo Vittar Smith, Rubén Verna and Gabriel Bobrow. With a style based on vocal work, Cuarteto Zupay tried to overcome the split between folkloric music and tango, as well as to develop new sounds and themes that could attract young people to a style they called Música Popular Argentina (English: Argentinian Popular Music) or MPA. Among their repertoire stand out Marcha de San Lorenzo, Zamba del nuevo día, Chiquilín de Bachín, Si Buenos Aires no fuera así, Jacinto Chiclana, Canción de cuna para un gobernante, Oración a la Justicia, Como la cicada, Te quiero, Ojalá, etc. Their favorite author was María Elena Walsh, whose songs were included in almost all the albums they released, three of them exclusively. In Argentina, folk music had been growing in popularity since the 1930s, hand in hand with a process of industrialization that induced a massive internal migration from the countryside to the city and from the provinces to the capital, Buenos Aires. This resurgence of traditional folk music exploded in the 1950s in what was called the "boom del folklore" (English: folklore boom). In the 1960s, the folklore boom was amplified with the creation of the major folklore music festivals such as the Cosquín Folk Festival (1961) and the Festival de Jesús María (1966). but especially with the appearance and massive spread of innovative musical forms, in a process of continental scope that adopted names such as Nueva Canción Latinoamericana and Argentinian Popular Music.